Полистилистика как фактор музыкального формообразования

Abstract

The article examines the particular features of form-generation that are stipulated by the application of polystilistics in the form of interactions of intonations and styles in a musical composition. Polystilistics is aimed at enhancing the contrasts. The reserves of musical forms genetically disposed towards contrast are disclosed, including contrast of style: the suite and sonata-symphonic cycles, the contrasting-composite form, as well as variations (a work composed collectively, or a compilation of stylizations), rondo and other rondo-based forms. In sonata form, the cadence provides fertile ground for polystylistics. Even the simple form and the parallel period, by themselves not inclined towards contrast, became responsive to the attempt of correlating different styles remote from each other (frequently, those of early and contemporary avant-garde music). An immense arsenal of means of unification of forms is needed for the neutralization of the centrifugal forces of polystylistics: the tonal plan, the single or manifold presentation of the recapitulation, the “form of the middleground,” the proximity of intonation between stylistically distanced themes, the synthesizing thematicism, and the hierarchical structuring. The article expresses the conviction that polystylistic permeation of musical form is called upon to solve serious artistic tasks.